"What do you think about this issue? Do you have any thoughts? What are those thoughts? Will you tell us them? Any thoughts at all will do. If you have em –we want to hear them. Are you personally affected by this issue then email us or if you're not affected by this issue can you imagine what it would be like if you were? ..."

(BBC Two, UK)

That Mitchell and Webb Site "We want your Ad–hoc 'reckon'" Series Two, Episode Five

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"Critics such as Andrew Keen argue that Web 2.0 has created a cult of digital narcissism and amateurism, which undermines the notion of expertise by allowing anybody, anywhere to share (and place undue value upon) their own opinions about any subject and post any kind of content regardless of their particular talents, knowledgeability, credentials, biases or possible hidden agendas. He states that the core assumption of Web 2.0, that all opinions and user–generated content are equally valuable and relevant is misguided, and is instead 'creating an endless digital forest of mediocrity: uninformed political commentary, unseemly home videos, embarrassingly amateurish music, unreadable poems, essays and novels,' also stating that Wikipedia is full of 'mistakes, half truths and misunderstandings'."

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"With super–low load P2P communication, "KeyHoleTV" enables you to watch TV programmes of any country via Internet. The software was developed under the Ministry of Internal Affairs and Communications' programme for "Development of Next Generation P2P Content Distribution System" and it is compliant to Windows XP/Vista, Windows Mobile, Mac OS and Linux."
(gigazine.net, 08 April 2009)

[The technology includes clients for both viewing and broadcasting video content over the Internet.]

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"Adnan Hadzi started off by introducing his Deptford TV project (deptford.tv) – a practice research project exploring the possibilities of online media and collaborative filmmaking. The research is a collaboration between Goldsmith's College, Deckspace Media Lab, Bitnick Media Collective, Boundless Project and Liquid Culture Initiative. Hadzi's presentation introduced two key aims of his research: one is to archive and create a database of footage documenting the regeneration process of Deptford, South East London, working closely with the local community; the other is to then make this footage available to artists, filmmakers and people living in Deptford in order that they can re–edit and share the material online. Hadzi's research explores how new media can revolutionise the relationship between filmmaker, subject and audience, enabling the subjects of the footage to also be authors of edited 'timelines' which in turn can be commented upon or changed by the viewers. This was illustrated by a clip from the project Deptford Now and Then by Gordon Cooper, which intercuts between archive footage of the Deptford power station, images of the community film archive and the archive projectionist's reflexive pieces to camera. In this way, Hadzi's research challenges our concept of traditional 'broadcasting' and explores the opportunities of peer–to–peer and user–generated content for community film, research questions which clearly could not be explored through traditional publication alone."
(Adnan Hadzi)

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"We explore the nature and impact of creative reuse in the production of digital media by analysing the output of an innovative online music sharing community, ccMixter. The dataset is of great significance because this is one of only a handful of online communities which do not only allow for the sharing of user–generated content, but also track the evolution of content after it has been published online and encourage reuse of the content for the production of new works. All content on ccMixter is legally uploaded, copyrighted, and licensed under Creative Commons. Much has been written about the birth of a new 'remix culture' on the Internet and how collaborative Web 2.0 technology has led to an explosion of user–generated content. But very little is known about the process of developing digital media in an open and collaborative fashion, the incentives of participating authors, and the outcomes of their actions. Based on our earlier studies of Creative Commons licensing and the analysis of this unique online community we hope to shed more light on the structure and dynamics of such activities by providing some of the first visualisations ever of large–scale remixing activity and presenting our preliminary findings."